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CHAPTER I HISTORICAL AND THEORETICAL DATA
The use of color for graphic purposes dates back to the dim and distant past. Some of the mural paintings of the cave-men were in two colors. The old monkish missals were enriched, particularly as regards the initials, with wonderful coloring; but these were paintings. The Japanese seem to have been the first to print in colors in superposition. But it was not till about 1700 that color printing was introduced into Europe.
J. C. Le Blon1 (p. 40) tried first to print from copper plates in the seven spectral colors of Newton. Later, in 1722, he came to the conclusion that all colors could be reproduced by means of three plates with the colors red, yellow and blue. The three plates were prepared in mezzotint, one representing all the blue, another all the red and the third all the yellow. He used transparent colors on white paper, the whites of the pictures being scraped out on the plates. A fourth or key plate in black was also used for the deepest shadows and some of the outlines. It is obvious that this process was tedious and costly, and the color rendition entirely dependent on the individual conception of the operator as to the composition of the various colors.
Senefelder's discovery of lithography towards the end of the eighteenth century, and its commercial introduction, about 1812, marks the practical commencement of mechanical superposition of colors in printing. But here again one has the laborious handwork on the stone, and the arbitrary analysis of color by the individual, accompanied by the use of many, that is more than three, stones for printing.
Newton's discovery of the solar spectrum2 opened up vast fields of research, including the whole field of color photography, and one of the first results was the formulation of the theory of the three primary colors. According to C. Grebe,3 Antonius de Dominis in his treatise, "De radiis visus et lucis in vitrio perspectivis et iride," published in Venice in 1611, remarked that colors were formed by the absorption of white light ; further that red, green and violet were the fundamental colors, from which the rest could be compounded. Aquilonius4 outlined a color scheme with red, yellow and blue as the primary colors, used half circles of the colors and suggested synthesis by these means. Sir David Brewster5 enunciated his theory of red, yellow and blue as the fundamental colors.
C. E. Wiinsch6 also propounded the theory of red, green and blueviolet as the basis, though this is always known as the Young-Helmholtz theory. Wunsch's work seems to have been entirely overlooked. It is
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